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    Studio Becky Carter creates “distinctly New York” interiors for Cecchi’s restaurant

    Brooklyn-based Studio Becky Carter has pulled varied references, from Bauhaus luncheonettes to comedic characters, for the interiors of a bistro in Manhattan’s West Village.

    Art deco dining rooms, 1960s Milanese architecture and “a distinctly New York feel” are all evoked at Cecchi’s, the first establishment from veteran restaurant maitre d’ Michael Cecchi-Azzolina.
    At the entrance to Cecchi’s, pistachio leather banquettes sit below a mural by Jean-Pierre VillafañeStudio Becky Carter was given creative control to produce an environment that felt distinctively New York, but also presented a departure from the typical bistros.
    “My style is retro-futurist, so I take strong cues from historic design narratives and process them through the lens of an imagined future society,” Carter told Dezeen. “When people enter Cecchi’s, I want them to feel like they’ve stepped into old-school, underground, NYC exclusivity, only this time everyone is invited.”
    Elements retained from the space’s previous iteration as Café Loup include a marble lectern used as a host standA starting point for the design was the whimsical murals of artist Jean-Pierre Villafañe, who was brought on early in the process to create scapes for the restaurant’s walls.

    His “transportational” depictions of lively party scenes helped to inform the colour palette for the rest of the space, a mix of reds, blues and tonal browns.
    Villafañe’s murals informed the colour palette for the restaurant’s interiorsSome of the dancing figures appear as historic European comedic characters, so Carter also looked to these for influences.
    The spheres placed within dividing screens, for example, are reminiscent of those found on a Pierrot costume, a figure in French pantomime theatre, while mosaic floor tiling at the entrance is adapted from Harlequin patterns.
    Large columns and louvred dividers break up the space into different yet visually connected areas”The beautifully finished spheres are just so tactile,” said Carter.”I can’t not touch them every time I’m in the restaurant.”
    The long, narrow space posed several challenges, such as the lack of natural light towards the rear and large structural columns that interrupted the flow.
    The mahogany bar top was also retained, while high-gloss burgundy lacquer was added to the frontCarter’s approach involved dividing up the restaurant into multiple areas, demarcated by the wood-wrapped columns, louvred dividers and built-in seating – all at different heights to allow visual connections across them.
    At the entrance, pistachio green leather banquettes occupy the bright window niches, then the mood shifts to darker and cosier as guests venture further inside.
    Soft lighting around the bar adds to the mood in the spaceSeveral elements from the space’s previous iteration as Café Loup were retained or refinished as part of the new design, including the mahogany bartop and the restored caned bistro chairs.
    The marble lectern that serves as the host stand and a chrome cash register were also saved, while 1970s Czech lighting was introduced overhead.

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    White tablecloths lend to the classic, old-school atmosphere, while contemporary details like custom wall sconces and the burgundy lacquered bar front add a more casual twist.
    “Michael envisioned the servers being able to pull up a chair and have a conversation about the menu in a convivial manner, and the style was to reflect this,” Carter said.
    A private dining room for parties is located at the back of the restaurantA private room for parties at the back features another Villafañe mural, as well as a rust-coloured ceiling and sci-fi lighting.
    Overall, Cecchi’s offers a fine-dining experience that still feels approachable, warm and not too serious.
    The private room features another Villafañe mural, as well as a rust-coloured ceiling and sci-fi lightingCarter founded her eponymous studio in 2016 and has completed a mix of residential and hospitality spaces on both coasts.
    Other recently completed restaurants in the US that feature retro-futurist interiors include 19 Town, a Chinese eatery in Los Angeles by Jialun Xiong, while new openings in the West Village include the worker-owned Donna designed by Michael Groth.
    The photography is by Joseph Kramm.

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    Japanese patchwork technique informs interior of Sando burger bar in Geneva

    Sapid Studio aimed to keep as much of the original fit-out as possible during this renovation project, which saw the Swiss design firm turn one burger restaurant in Geneva, Switzerland, into the home of another.

    The new burger joint, named Sando after the Japanese word for sandwich, is located near the waterfront in Rive Gauche and serves burgers infused with Japanese flavours such as teriyaki tamago and miso bacon.
    Sapid Studio designed the interiors of the Sando burger joint in GenevaSince the space was originally designed for a similar establishment, Sapid Studio made no changes to the layout.
    Instead, founders Cecile-Diama Samb and Michael Piderit took a retrofit-first approach inspired by the Japanese craft of boro, which involves repeatedly mending and stitching together textiles to create a multi-layered patchwork.
    The studio retained the existing tiled flooring and the barIn this spirit, the studio retained the interior’s original bar – simply re-finishing it in brushed and corrugated stainless steel – and patched up the existing tiled flooring.

    The millwork of the previous restaurant was dismantled and repurposed to form wainscoting and a table-height counter running along the window front, designed to resemble those found in Japanese ramen shops.
    The original millwork was repurposed into window counters and wall panels”All efforts were made to make the most impactful change to the space while minimising the amount of wasted material,” Sapid Studio co-founders Cecile-Diama Samb and Michael Piderit told Dezeen.
    “It is the re-working of an existing element, stitched together with surgical demolition, alterations and additions, that creates the unique patchwork that is Sando.”

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    Most literally, the boro technique is reflected in the tapestries that hang in rows from the walls and ceilings, made from reclaimed textiles by local upcycling workshop Lundi Piscine.
    Stitched onto a translucent open-weave tarlatan backing, these feature fragments of bright yellow letters that spell out Sando in both English and Japanese.
    Translucent tapestries by Lundi Piscine decorate the walls and ceilingsBirchwood is featured liberally throughout the interior and was finished in three different stains for contrast, as seen in the bar stools that line up along the steel-clad counter to form a subtle gradient.
    The two lighter stains were also used to create a colour-block effect across the wall panelling and the window counter. Here, diners can sit on aluminium stools by Danish brand Frama that were chosen to match the brushed metal counter.
    Recycled plastic stools provide more seating in the backAnother seating area at the back of the space sees simple off-white metal tables paired with speckled stools made from recycled plastic by Normann Copenhagen.
    Apart from the tapestries, the only other wall decoration is provided by several bespoke prints from Swiss illustrator Kristell Silva Tancun, depicting classic Japanese art motifs remixed with burgers, fries and fast food items.
    The restaurant serves burgers infused with Japanese flavoursOther well-designed burger joints include PNY Citadium in Paris, which has a sunset-hued interior informed by the roadside diners of America’s West Coast, and Noma’s burger spinoff POPL in Copenhagen.
    The photography is by Alicia Dubuis.

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    GRT Architects references “vacation Italian” at New York bar and restaurant

    New York studio GRT Architects has designed a light and airy Italian restaurant and adjacent cocktail bar at the base of Thomas Heatherwick’s Lantern House in Manhattan.

    The new dining and drinking destinations face the corner of West 18th Street and 10th Avenue through the distinctive bay windows of the building, which straddles the popular High Line park in Chelsea.
    The bright and airy Cucina Alba was designed to transport diners to ItalyThe 3,000-square-foot (278 square metres), 90-cover Cucina Alba offers a full brunch and dinner menu, while Alba Accanto is half the size and serves cocktails and bites next door.
    Both are operated by Prince Street Hospitality, whose partner Cobi Levy collaborated with GRT Architects on the interiors of both spaces.
    Alternating yellow and white fabric panels are draped above the dining spaces”Cucina Alba and Alba Accanto are two distinct yet complementary spaces that instantly transport guests to Italy, capturing the polish of the north with the brightness of the south,” said the group.

    Cucina Alba is designed to embody a “vacation Italian” aesthetic, evoked by light terrazzo floors, tubular metal Knoll Cesca chairs, and pale oak millwork.
    Oak millwork, light-toned terrazzo flooring and tubular metal chairs all add to the ambienceAlternating yellow and white fabric panels were draped overhead, forming a parachute-esque ceiling that matches the striped awnings over the entrances.
    Thin metal chains hung from red railings act as space dividers, defining and partially enclosing a section of the dining area.
    Hints of coral red stand out against the pale colour paletteHigh-gloss, oxblood-coloured tables nestle into semicircular booths or line up along the bench that follows the windows.
    At the other end of the L-shaped space, the open-air kitchen is denoted by a colourful mural by artist Alex Proba that covers the end wall and part of the ceiling.
    A colourful mural by Alex Proba denotes the open kitchen areaIn the bay windows, an assortment of plants and random paraphernalia – from inflatables to plastic lemons and disco balls – are visible to passersby, while outdoor seating along 10th Avenue is offered under scallop-edged parasols that continue the white and yellow theme.
    Next door, Alba Accanto has a similar “Italian holiday bar” aesthetic, but with a slightly moodier ambience for evenings.

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    The bar counter is built from stacks of pale stone that form striations across the front, while the top and the bar back are made from continuous expanses of a single stone type.
    Arched niches behind the bar emanate a golden glow, and display glassware and liquor bottles alongside figurative sculptural vases that were custom-made in Italy.
    Next door, the Alba Accanto bar has stone detailsThe ceiling is covered in fabric that features thin ticking stripes, from which brass chandeliers with pale blue glass globes are suspended.
    At the back is a private dining room that can be booked for large parties of up to 45 guests, and the table configuration can be adapted depending on the event.
    The bar area features a striped fabric ceiling and a painting by Alex KatzBuilt-in bench seating wraps the perimeter, and patterned wallpaper and matching curtains are reflected in the glossy ceiling.
    In both spaces, works by renowned artists including Alex Katz and Ethan Cook were sourced with the help of art advisor Elizabeth Margulies, and hand-painted tableware from Puglia adds an authentic touch.
    Behind the bar is a private dining room that can accommodate up to 45 guests”The design of Alba Accanto is exuberant and maximalist in style, utilizing bright colors to reflect the vibrance of Italian coastal cities like Positano,” said Levy, “while the design of Cucina Alba is polished, contemporary, and warmly inviting with wood accents, embodying the soul of Milan.”
    “We wanted to capture the distinct atmosphere of each city, and with Accanto, we achieved that same sense of vitality but with a maximalist approach,” he added.
    Both Cucina Alba and Alba Accanto occupy the ground floor of Thomas Heatherwick’s Lantern House building in ChelseaGRT Architects has completed the interiors for two other Italian restaurants in New York City: the Michelin-starred Don Angie in the West Village, and the recently opened Bad Roman at Columbus Circle.
    Founded by Tal Schori and Rustam-Marc Mehta in 2014, the studio has amassed a portfolio that extends from Brooklyn townhouse renovations to ground-up builds in the Hudson Valley.
    The photography is by Peter Murdock.

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    Yinka Ilori imbues Courvoisier bar with natural beauty of Cognac region

    A wavy canopy emerges like a fountain from this pop-up cognac bar inside Selfridges in London, designed by local designer Yinka Ilori to mimic the glistening waters of the Charente river in France’s Cognac region.

    The bar belongs to cognac brand Courvoisier and was designed to capture its hometown of Jarnac and the surrounding region, where cognac brandy is made using white grapes from one of six designated “crus” or areas.
    Courvoisier has opened a pop-up bar at SelfridgesIlori wanted to bring this bucolic setting to London’s Selfridges department store, using it to inform the colours and patterns featured throughout the space.
    “I aimed to capture the essence of Jarnac – the warmth of the sun, the rippling of water, the beautiful wildflowers and the natural beauty in the surroundings,” he told Dezeen.
    “The design pays homage to the magic and nature of Jarnac, creating a space that embodies its spirit.”

    The interior was designed by Yinka IloriThe town’s location on the Charente river is the most prominent influence, seen across the pale-blue floors, the sinuous rippling pattern on the walls and, most importantly, in the bar itself.
    Here, a circular counter was topped with a wavy blue canopy that seems to pour out of a central pillar, with the same pattern continuing down onto the base.
    Ilori also designed a limited-edition VSOP bottle for the brand”I wanted people to feel like they were surrounded by water, with it flowing both above and below them, creating a sense of immersion and tranquillity,” Ilori said.
    “The design of the canopy aims to reference the effortless flow of water, making visitors feel as though they are in the midst of a serene river.”
    The bar’s scalloped countertop picks up on the sinuous shape of the waves but provides a colourful contrast thanks to its lacquered red finish.

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    Another reoccurring feature throughout the space is a cartoonish flower shape that nods to Jarnac’s wildflower fields and is found across drinks stands and upholstered benches in the seating area.
    To create a visual connection between the blue waves and the buttercup-coloured flowers, Ilori incorporated a sunset gradient that fades from yellow to soft lilac and envelops several cylindrical display stands as well as the base of the bar.
    “I was struck by the gradients in the sky in Jarnac and wanted to capture this unique visual,” Ilori said.
    A wavy pattern features across the wallsThese three repeated motifs, spanning earth, sky and water, also feature in the limited-edition bottle design that Ilori created for Courvoisier’s Very Superior Old Pale (VSOP) cognac.
    The bottles are available in four different ombre colours and displayed throughout the bar, which will stay open for three weeks until 11 September.
    The same pattern is picked up in the canopy of the barThe project forms part of Ilori’s ongoing collaboration with Courvoisier as the brand’s “ambassador of joy”.
    Last year, the designer created an immersive dining for Courvoisier in New York, designed to transport diners into a surrealist interpretation of Jarnac.
    Ilori’s colourful work is often considered as part of the New London Fabulous movement and includes a colourful skate park in Lille and The Colour Palace pavilion at the London Festival of Architecture.

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    Ramy Fischler blends contemporary and historic for Moët Hennessy’s first cocktail bar

    Belgian designer Ramy Fischler has collaborated with Moët Hennessy and cocktail creator Franck Audoux to create the Cravan cocktail bar in the heart of Paris’ Saint-Germain-des-Prés.

    Named Cravan, the bar for luxury drinks group Moët Hennessy was a collaboration between architect Fischler and restaurateur, author, historian and cocktail aficionado Audoux.
    Ramy Fischler designed the Cravan bar for Moët Hennessy”The objective of the design was to amplify a story by Franck Audoux originating from his small bar in the 16th arrondissement of Paris and transforming it into a cocktail house over five levels in the centre of the capital – to imagine the creation of a new house of the Moët Hennessy group,” Fischler told Dezeen.
    “This is not a one-shot but the beginning of a long adventure. It was therefore necessary to define a harmony, a coherence, between all the ingredients of the project, whether it is the decoration, the service, the music or the lighting.”
    The building features three separate barsThe space takes its name from the avant-garde poet-boxer and sometime art critic, Arthur Cravan, a free-spirited figure greatly admired by Audoux, with whom Fischler worked closely on this project.

    “We share a common vision, based essentially on cultural references from literature and cinema, and above all a taste for scenic impact, framing a context, point of view, or narrative,” said Fischler.
    “We started with the desire to freely assemble codes, eras, and styles to craft a new repertoire which made sense to us and expressed the essence of Cravan.”

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    Set in a 17th-century building in the heart of this historic and literary district, the space was arranged over five floors, with a small invitation-only space on the roof.
    The building has separate bars, each with its own distinct character on the ground, first and third floors, while the second floor hosts the Rizzoli bookstore-cum-library, where guests can come with their drinks to leaf through and buy books. On the fourth floor, there’s another invitation-only atelier-style space.
    Each of the spaces was designed to combine modern elements with the building’s historic fabricAccording to Fischler, the whole project took its cues from the concept of the cocktail.
    “I would never have imagined this project in its current state if it were not a question of drinking cocktails” he said.

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    “There are a number of ingredients that we blend together to create a unique whole, that seems offbeat but is actually very controlled,” he continued.
    “I thought of the spaces as cinematic scenes, hence the individual atmospheres on each floor which form different sets. You can sit in front of the stage, on the stage, or behind the stage, depending on the experience and viewing angle you prefer.”
    The bar is Moët Hennessy’s firstTo create these different scenes, the project makes use of a wide range of materials, often reclaimed salvaged pieces including parquet floors, stone floors and wood wall coverings, painstakingly installed by a large team of craftspeople.
    In Ramy Fischler’s projects, the textiles always play an important role and the practice features its own in-house textile designer.
    “For Cravan, we tried to use as much re-used material as possible, and in particular textiles from Nona Source, a start-up that makes available leftover, unused fabrics from the fashion houses of the LVMH group.”
    Historic elements were retained throughout the spaceThe practice strived to create a contrast between the warm and natural colours of the historic fittings, and the colder and metallic colours of the contemporary furniture and fittings, “which cohabit one alongside the other”.
    “Depending on the level, the colour palette is totally different, and since no room is alike, and each colour has been chosen according to the universe we have sought to compose,” said Fischler.
    Fischler also designed glasses for the barAll of Cravan’s furniture was custom designed and Fischler’s holistic approach extends to the cocktail glasses, which the practice designed for Cravan and which are displayed in the library.
    “Rather than creating new shapes, we preferred to select, from the history of glassware over the past 300 years, the models that we liked and that we wanted customers to rediscover,” explained Fischler.
    Other recent bars featured on Dezeen include an eclectic cocktail in Los Angeles designed by Kelly Wearstler to feel “like it has been there for ages” and the Ca’ Select bar and distillery in Venice.
    The photography is by Vincent Leroux and Alice Fenwick

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    Otherworlds transforms Goan villa into restaurant that “celebrates chance encounters”

    Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into the Terttulia restaurant and bar.

    Housed in a Portuguese-style villa, Terttulia Goa is defined by a central island bar informed by the balcão – an outdoor porch with built-in seats that serves as the entrance to a typical Goan home.
    The restaurant takes its name from the Spanish word tertulia, meaning a social gathering with literary or artistic associations.
    Intimate two-seater booths flank the bar”The balcão is a crucial part of a Goan home as this is where one spends most of their time,” Otherworlds founder Arko told Dezeen.
    “At a time of rampant urbanisation, all houses tend to become very self-contained, private and detached, separated away from the city or the neighbourhood,” he continued.

    “The balcão becomes all the more important at such a time as it is built with the idea of reinforcing the kinship between the house and the neighbourhood.”
    Terttulia Goa is defined by a central bar informed by the balcãoMultidisciplinary studio Otherworlds overhauled the villa, which it describes as a “formerly enclosed shell”, by removing some of the external walls and extending the dining area into an outdoor porch.
    This area is sheltered by a large bamboo canopy with elliptical openings that diffuse the natural light, transforming the space throughout the day.
    The canopy is intended to mitigate the region’s extreme weather conditions; sheltering customers from the rain during monsoon season and providing a semi-open space with plenty of air circulation during the hot summer months.
    Low-hung lamps add a sense of “whimsy”Otherworlds designed the bar so that customers face each other, rather than facing the wall, in a bid to “encourage chance encounters”.
    “The intention was to create an immersive atmospheric experience that inspires a feeling of being in a tropical, lush outdoor space under an overgrown natural canopy,” said Arko.
    A metal and fluted glass structure hung from the building’s external walls floats above the white marble bartop and holds the arc-shaped lamps that light the intimate two-seater booths flanking the bar.
    A bamboo canopy was inserted to mitigate the region’s extreme weather conditionsAt night, the restaurant is lit by low-hung sinuous lamps informed by sweeping stems that are intended to add a sense of “whimsy” to the interior.
    Adhering to Terttulia’s signature green and white colour scheme, the studio opted for a palette of locally sourced materials, including the green-pigmented hand-cast concrete that it used to create the restaurant’s flooring.
    “The green pigmented hand-cast concrete floor, largely termed as IPS [Indian Patent stone], is found in most places in the country and is also used to finish the balcão in all Goan homes,” Arko explained.
    Terttulia Goa is housed in a revamped 1980s villaOtherworlds worked with local workshop Jyamiti & Sea to create ovoid terrazzo accents that are scattered in various places across the floor and walls.
    The studio achieved what it terms “the perfect green” using a mixture of white and grey cement and green oxide pigment.
    Otherworlds opted for a palette of locally sourced materials”The tricky bit with coloured concrete is achieving the exact shade [because] once the cement sets and is polished, the result is quite different from the initial wet mix,” said Arko.
    “The process required numerous iterations and experiments to get the right mixture of materials that would yield the correct shade.”
    The green cement is offset by dark wood derived from the matti, Goa’s state tree.
    “We imagined the restaurant to be an extension of the house and while being part of it, [we also wanted it to] feel like a part of the city.”
    Other projects that take a contemporary approach to Indian design traditions include a rammed-earth family home in Rajasthan designed by Sketch Design Studio and a Rain Studio-designed “native yet contemporary” home in Chennai.
    The photography is by Suryan and Dang. 

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    Blue Bottle Coffee Qiantan references greenhouses and Shanghai’s brick architecture

    Architect Keiji Ashizawa has created a Blue Bottle Coffee shop in Shanghai’s Qiantan area with a glazed facade and interiors in a hue that nods to the city’s brick buildings.

    Located next to a park in the recently developed Qiantan area, Ashizawa designed the oval-shaped cafe to reference its immediate surroundings.
    His studio removed the floor slabs from the first floor of the building, creating a double-height space with an atrium-like feeling for the ground floor of the cafe that would have a connection to the surrounding park.
    Blue Bottle Coffee Qiantan is located in a newly developed area”In rainy Shanghai, we wanted to provide a place where people could enjoy the park even on rainy days,” Ashizawa told Dezeen.
    “Also, looking at the overall plan of the park, I thought that a rich interior space was required,” he continued.

    “The result is seen as a greenhouse, like those found in botanical gardens. I thought that adding a new story to the park would increase its enjoyment.”
    It features a double-height space and a central staircaseFrom the ground floor, a long stairway leads down to the cafe’s basement level, which houses the main coffee counter.
    The staircase in Blue Bottle Coffee Qiantan was designed to reference the colour of soil and have a cave-like feeling.
    “We decided to create a cave-like space for visitors to appreciate the long stairway down to the basement, creating an experience that is like crawling through the earth in the park,” the studio said.
    A coffee counter in the basement has a colour reminiscent of bricksIt also evokes the colour of red bricks, which are commonly used for Shanghai architecture. The same hue was used for the coffee counter and for a tall central wall.
    “Shanghai’s brick architecture in the old city is a strong contrast to the architecture of modern Shanghai, and it leaves a very strong impression on the eye,” Ashizawa said.

    Traditional Chinese roof tiles decorate the interior of Blue Bottle Coffee shop in Shanghai

    “We wanted to preserve some of Shanghai’s image in this newly developed location and architecture,” he added.
    “At the same time, since the cafe is located in a park, I wanted to create a sense of unity by using the image of earth in the architecture.”
    Keiji Ashizawa used wooden furniture throughout the spaceOn the ground floor, pale-wood stools are gathered around circular grey tables.
    Downstairs, Ashizawa clad the walls in greige microcement and added wooden chairs, tables and counters.
    The walls are clad in microcementLarge trees decorate both the basement and the ground floor, adding to the cafe’s botanical atmosphere.
    “The goal was to create a connection between the outside and the inside, with a natural form similar to that of the outdoor trees,” Ashizawa said.
    Large indoor trees connect the cafe with the park outsideWooden benches also offer visitors the option to drink their coffee outside in the park.
    Ashizawa has designed numerous other Blue Bottle Coffee shops, including one in a Kobu department store and another Shanghai outpost that was decorated with Chinese roof tiles.
    The photography is by Jonathan Leijonhufvud.
    Project credits: 
    Architect: Keiji Ashizawa DesignProject architect: Keiji Ashizawa / Chaoyen WuLighting Design: Aurora / Yoshiki IchikawaLandscape Design: Hashiuchi Garden Design / Hashiuchi Tomoya

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    Kelly Wearstler designs Los Angeles bar to feel “like it has been there for ages”

    Interior designer Kelly Wearstler paired clay plaster walls with Moroccan cement tiles at this eclectic cocktail bar in the Downtown LA Proper hotel.

    Named after Mexico’s national flower, the Dahlia bar features a blushing interior that was designed to echo the rest of the hotel – also created by Wearstler.
    The designer looked to the same Spanish, Mexican and Moroccan influences that define the wider Downtown LA Proper, such as terracotta Roman clay plaster walls and ceilings when conceptualising the bar.
    Dahlia is a cocktail lounge within the Downtown LA Proper hotel”The warm, earthy tones of the lounge are in concert with the larger hotel while striking their own note entirely,” said Wearstler.
    “Dahlia feels like it has been there for ages,” added the designer, who has been named as a judge for the inaugural Dezeen Awards China.

    Moroccan cement tiles clad the barVisitors enter the bar through yellow-tinged stained glass doors that were custom-made for the venue by Los Angeles’ historic Judson Studios, which claims to be the oldest family-run stained glass company in America.
    Seating was created from a mix of built-in reddish banquettes and low-slung curved armchairs that hug circular timber tables, while a geometric chandelier draped in light-filtering silk was suspended overhead.

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    In one corner, an embossed and low-slung black cabinet supports two squat table lamps that look like oversized green olives.
    Wearstler adorned the clay plaster walls with a mishmash of vintage and contemporary textural artwork, which was finished in ceramic and sand. Various local artists were included in the mix.
    Kelly Wearstler imbued the venue with her signature eclectic styleDefined by “saturated hues and dramatic lighting,” the cocktail lounge also features a bar clad with lilac-hued Moroccan cement tiles and woven crimson rugs.
    “This is the kind of space where you can entirely lose track of time,” said the designer.
    Known for her distinctively eclectic style, Wearstler has created interiors for various other destinations that are part of the Proper Hotel Group. The designer scoured vintage shops to source the furniture that decorates the living room-style lobby of a Santa Monica branch while an Austin location features a sculptural oak staircase that doubles as a plinth for Wearstler’s own glazed earthenware pots and vases.
    The images are courtesy of Kelly Wearstler.

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